Mortimer L. Menpes

1855 - 1938

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The Old Market Square, Dresden c.1900

Original drypoint.

Outstanding early proof impression printed in warm brown ink, with considerable plate tone. An exceptionally rich impression with the drypoint burr printing at its freshest.
Clearly, one of the first impressions taken from the plate for the only edition of approximately 25 signed proofs, printed by the artist himself.

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The Church of La Sorbonne, Paris c.1906

Original etching and drypoint.

Excellent signed proof impresssion with rich drypoint burr, printed by the artist himself.
One of the artist’s, finest printed works of Paris.

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Shakespeare’s Birthplace, Stratford-upon-Avon c.1900

Original etching and drypoint.

Superb early proof impression, with the horse and cart still clearly visible in outline towards the right of the image – these lightly sketched figures were removed in the subsequent state of the plate.

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Portrait of James Abbott McNeill Whistler with the White Lock, Wearing a Monacle c.1886

Original drypoint.

Probably the most famous portrait of Whistler by his friend and admirer, Mortimer Menpes. Excellent signed proof impression, printed by Menpes himself on his own watermarked paper. Rare.

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Portrait of James Abbott McNeill Whistler: Night Study c.1886

Original drypoint.

Superb impression of this rare portrait of Whistler by his friend and admirer, Mortimer Menpes. Outstanding signed proof impression, printed by Menpes himself on specially prepared Chine appliqué surfaced paper. This particular drypoint is amongst the most scarce of Menpes’s Whistler portrait plates.

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Born in Adelaide, South Australia, Mortimer Menpes came to England in 1875. By the time of his momentous meeting with Whistler in 1880, Menpes had already established a considerable reputation as an etcher. Through his friendship with Whistler, Mortimer Menpes learnt the finer techniques of etching whilst, in return, he assisted ‘The Master’ in printing his first Venice Set. Mortimer Menpes remained an integral part of Whistler’s artistic milieu until after his extensive expedition to Japan in 1887, when he broke away from Whistler’s style and was applauded in his own right for his Japanese works. From this point on, Mortimer Menpes’s independent career was able to blossom in its own right and through his extensive travels he produced the largest body of topographical etchings and drypoints to be created by any original printmaker of the period. These works are remarkable for their topographical accuracy and are evidence of the consumate skill of a master printmaker. [more]